I think a lot of it has to do with habit we have form when we were starting. I found practicing jazz difficult for the longest time mostly because I couldn't figure out a routine for it. I had to ask around and find out what the better players and my teachers do until I figured out one. Now it works and I've been getting major improvements in that style. I've had a routine for classical playing for quite a while because of my second private instructor. I could have got a jazz one earlier but I was too immature to listen to my first instructor. Also it has to do with drive.

 

It's difficult to do. To do this effectively you have to be able to get into the right mind set. You need to get to where when you are playing one that the audience has no idea that you can play the other. Most players use different setup when they are playing classical vs. jazz. For example: for jazz they will use their Ottolink 8 with Vandoren ZZ#3's and for classical they will use their Selmer C star with Vandoren blue box #4's. Some player use different horns for classical then they do for jazz. Of course there are diffferent embouchers for different styles. Some players even hold their horn differently when playing one style versus the other. For example: look at the difference between Sigurd Rascher's posture and Joe Henderson's posture.

Listening is also very helpful youhave to listen to both genres. You have to know enough about both styles so you can convincingly interpret both of them in performance.

It's not an easy thing to do but it can be done. Youhave to figure out a practice routine that works for you so you can seperate the two styles in your mind and be able to call on them when needed.

Chris

 

For me it came down to not being much on the alto. My natural skills are very limited so I had to go all in for jazz. Having said that there are certain methods that work for everything and I'm working on those too.

 

I actually have things separated so that I play classical almost exclusively on the alto and jazz on the tenor. I don't like classical tenor as much as I do alto, and although I do like jazz on the alto, I find that I play more naturally on the tenor.

 

This was pretty much what I did when I played classical, although I did switch things up occasionally.

I think most of the classical lit and tenor being the dominant jazz instrument have something to do with this.

 

I'm confused are you asking for us to list routines for both sides? Even if you aren't I'd still like to hear some of them. Just to know what other people do.

 

I would disagree with you--I have met tons of cats who can play both classical and jazz convincingly. Most college saxophone majors are expected to do both--and they're monsters at it.

I think the way you develop this is by studying both at the same time with your teacher. Also by playing in both classical and jazz groups. That's what I've done most of my life--I play in theatre pits that have more of a classical bent, and then I also play in big-band jazz groups. When I went to grad school, I majored in classical alto but also played jazz tenor in the bands.

I think the absolute most important thing is that you have to want to do both, and truly have the appropriate passion for both styles.

 

Since my conceptions for jazz and legit are different, they have to practiced separately.

 

Ok, well let's get specific. No matter what style one is playing, a probable practice routine would begin with basic technique. Start with some long tones and then maybe go into scales and patterns. This is what I usually do anyway. Do you fellas think this is a good approach for both styles as long as you have the particular goal sound in your head? My typical practice routine goes as follows: First I do my classical stuff. Long tones, scales, intervals, etudes, and solo repetoire. Then I slap on my jazz setup and I'm very unorganized. Should I do long tones again? I usually just drool on my horn, aebersold, or play along with some recordings or try to do some licks in all keys. What would be a better approach?

 

This is for those of you who are into both jazz and classical playing. Seems that there are very few who can do both convincingly. I think this is because people simply don't know what or how to practice.

Sorry, I'm just now seeing this thread. I take such exception to this premis that I won't even comment in depth. How do you qualify your statement that it, "seems that there are very few who can do both convincingly" and that you "think this is because people simply don't know what or how to practice.."?

What is your experience and how did you arrive at these conclusions?

 

hear, hear!!

 

I hate the term "legit"

 

Yeah...I guess calling classical "legit" then the rest of the music (jazz for instance) isn't legitimate?

 

Gary and Kilter,
Well, I'm a serious saxophone student in college and my teacher is pretty much classical focused. I've gone to many sax conferences and last year's NASA meeting in South Carolina was a good example of my point. All of the teachers and performers were on one side of the table or the other. Otis Murphy didn't play any jazz and Peter Sommer didn't play any classical. Maybe they can, but they didn't. It is actually quite uplifting that you guys seem to disagree because I was worried that I was stuck doing one or the other. It's nice to know that there are plenty of switch-hitters out there, I'd like to be one, I just haven't come across many. Any guys I should check out or approaches I should take to developing in this way?

 

waroffn - gotta move on tonight, so just a short comment.
I was at UNT twice, first as a trumpet player, later as a woodwind player. My trumpet, sax and flute lessons were all strictly classical. You know UNT's reputation. We all took classical lessons and most played in classical ensembles. Then turned around and took the jazz classes and played in those ensembles. That's my experience.

 

Okay, so what jazz classes did you take? Did you get jazz stuff from your private teacher? I'm very interested in this because I don't get any jazz instruction from my sax teacher really. I'm in jazz band, play in combos, know jazz theory well, and am into it, you know? I just feel that my classical practice is very well structured and when I want to do some practicing of my jazz stuff I only play for like 30-40 minutes because I'm just screwing around. I know what it's all about, I just think that my jazz practicing isn't very efficient currently.

 

I've been considering this question lately, as I've been looking around at various graduate schools for a Masters in Music. It seems to me that most of the larger schools are becoming very divided. I enjoy both classical and jazz and would like to study both. However, it appears that to do that I will have to get a Master's in Jazz and Doctorate in Classical Performance or vice-versa. I was talking with Tom Walsh (Indiana) about this and he pointed out that the problem is that the players who focus on one or the other generally have more time to practice their particular style. Thus, there are very good players on both sides, which means that if you study both, you're at a natural disadvantage. I do agree, though, that there are some players who do both pretty well.

 

For the longest time, I was all Classical on Alto, and all Jazz on Tenor.

Splitting the horns helps a little - because you approach each with a different feel anyway. The routine is what gets me.

To be honest - the only reason I play both (and I'm a terrible jazz player, at least I think so) is because I spent all of my college, high school, and teaching years on classical sax. It's almost like a bike, I can pick up my alto and still get my classical sound. But now I play exclusively show band music and jazz - and I'm still not good at it - but the constant practice is good for me - and the constant playing helps a lot if/when I try to play classical sax.

I still do some classical excersizes - lots of overtone work, etc - but the bulk of my technique/transcriptions/etc are all jazz based now. It really is two different worlds - but they intersect eventually.